Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Matt Brailsford used a modified old tape player as interface to this Raspberry Pi + Spotify Media Server, so listener can use the player (and the cassettes) as physical interface to the different playlists.

Tag Archives: audio art

Playfulness with spatiality is immediately evident in these three recordings (around 29 minutes in total) that were captured and performed in multiple locations in a nature reserve on Kapiti Island, New Zealand. The area is famous →

As with many of our consumer technologies, the historical trajectory of sound recording has been one of progressive banalisation. If the first people to listen to recorded music in the late 19th century thought they were experiencing a form of →

Norwegian Frode Haltli is a very sensitive accordionist whose excellent technique has been repeatedly witnessed in a series of works undertaken at the most diverse geographic and stylistic latitudes. In this fourth release for Hubro, the musician →

This album opens with iterated patterns that unravel with extreme precision. Appealing multiform textures and subtle crackling audio emergencies accelerate, slow down and reassemble at will in a cascading catalogue of new sequences. The skillful articulations →

As Europe’s industrial districts are gradually replaced by office blocks with curtain walls, sites once filled by the clamor of machines are turned into glossy and silent images for architecture magazines. In the window of time between closure and demolition →

Freek Lomme has quite an unusual position being the founder and curator of Onomatopee, an art and design institution and a prolific publishing house – two organisations that constantly influence each →

This Zeitkratzer release features a classical ensemble of clarinet, violin, cello, double bass, trombone, trumpet, piano, guitar and percussion. The work, an adaptation of Metal Machine Music by Lou Reed, was conducted by Reinhold Friedl and →

The historical development of music in the west has been described in terms of a distancing of the body: the identification of music with music notation and the progressive automation of musical instruments are two sides of this process. Dmitry →

Here is the new studio album by Francisco Meirino, an experienced artist with more than 100 live performances under his belt. Meirino’s projects are always very interesting and feel almost custom-made for the major international electronic →